Organization

Dirección de escena

Dirección de escena (+1)

Roland Schwab

Escenografía

Escenografía (+1)

Piero Vinciguerra

Diseño de vestuario

Diseño de vestuario (+1)

Renée Listerdal

Dirección coral

Dirección coral (+2)

Thomas Richter

Coreografía

Coreografía (+2)

Silke Sense

Barítono (+3)

Mattia Olivieri

Don Giovanni

Tenor

Giovanni Sala

Don Ottavio

Bajo (+2)

Patrick Guetti

El comendador

Barítono (+4)

Tommaso Barea

Leporello

Dirección orquestal

Andrea Sanguineti

Soprano (+1)

Elisa Verzier

Zerlina

Lidia Fridman

Donna Elvira

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Chorus

Choir of the Deutsche Oper Berlin

Artur Garbas

Masetto

Flurina Stucki

Donna Anna

Kyle Miller

Soprano

Claudia Pavone

"Where did you get the insane rights you've dedicated your life to?" George Sand asks the Legendary. He casually confides to Gottfried Benn: “I once dreamed that a young birch gave me a son.” No other fictional character of modern times has received more public attention than Don Juan, the “seducer of Seville”, who was penned by a Spanish monk in 1613 escaped. Only seven years younger than his compatriot Don Quijote, he has been making his way through dramas, epics, novels and operas, haunting cinema screens and plasma screens. Against changing moral backgrounds he boasts - memorial and icon - with his famous list, designed against death, which he casts as a stony shadow. "Mine shall be Hell!" Lord Byron heard him say.

A cutting chord opens the overture to a dramma giocoso on the death course of DON GIOVANNI on October 29, 1787 in the Counts Nostiz National Theater in Prague, conducted by the composer. In the history of music theater, this moment can be compared retrospectively with the Big Bang. In order to be able to put himself in the role of the rampant libertine and blasphemer, lyricist Lorenzo da Ponte had to repeatedly flirt with his landlady's daughter to get himself in the right mood. Mozart himself, who had been successful the year before with his FIGARO, composed for 1,000 guilders under great time pressure. The overture will not be finished until 7 p.m. on the day of the premiere. Søren Kierkegaard sees a “lightning flash” that “breaks away from the darkness of the storm cloud, more erratic than this and yet just as rhythmic.

The descent into hell, to which the archetype of moral reprehensibility was previously condemned, this time arrives as a soul. The whole of Western metaphysics is called upon to support its end, but it no longer only confirms the indignation of the just, but causes consternation. The freedom that the libertine praises against prescribed humility makes him an anarchic prototype on the threshold of the French Revolution. In its self-indulgence, as a life plan peeled from the dictates of hormones, the impulsive longings and self-realization fantasies of subsequent generations can be reflected.

In the 19th century he was related by marriage to Faust, only to then leave him to psychoanalysis, burdened with meaning. Julia Kristeva locates in him the "son of a mother who becomes a dreamer with her husband and passes on to her little ones that he may conquer all women in a way that no one has ever conquered them". Albert Camus thinks it is unlikely that he could be sad. How the "laughter, the victorious impertinence, the erratic nature", the deeply earthly quality that the French philosopher diagnoses in him can be deceptive! – With DH Lawrence, the restless muses: “Where is peace for me? Mystery must be in love with me...”

What drives the seducer through the bedrooms of the ages? What hunts the hunter? Who is this man who always just means, really?

italiano

Berlín

Alemania